Edward Burtnysky on climate crisis: ‘We should be screaming fire… but we’re rearranging deck chairs on the Titanic’
Photographer Edward Burtynsky says people should be “screaming 10 alarm fire right now,” due to the urgency of the climate crisis. Instead, he says “it still feels like we’re rearranging the deck chairs on the Titanic”.
The 69-year-old Canadian artist has re-invented landscape photography, spending the last 40 years documenting man’s dominance over the planet.
He explores human impact across the world – in all its beauty and bleakness.
But does he see any conflict in creating beautiful images documenting such devastating impact on the earth?
He tells Sky News: “My work is revelatory, not accusatory.
“Every living species takes something from nature to survive, and we as a top predator, take quite a bit from nature to survive.
“All these things I’m showing would be perfectly fine if there were one billion human beings on the planet. The fact that there’s eight billion makes it a problem. It’s just too much of a good thing.”
His large-scale panoramas both celebrate and question human ingenuity, challenging his audience to look beyond their backyard.
They also act as a critical reminder of what could be at stake without urgent changes to the way we use the planet’s resources.
Coast Mountains, British Columbia, Canada. Pic: Edward Burtynsky/Flowers Gallery
Born in Ukraine, Burtynsky’s parents moved to Canada after the Second World War. His father – who gave him his first camera as a child – died when he was just 15.
Precipices and helicopters
The necessity to earn enough money to allow him to study photography led him to find work in big industry, working in both the auto and mining industries as a young man.
“I moved far north and worked in big mines. And I got to see those worlds, first-hand. And I think it was that kind of opening my eyes to this other world that gave me the idea that most people haven’t really seen these worlds”.
Progressing from standing on the edges of perilous quarries and mines to get his shots (admitting, “my mother didn’t approve, it was sort of dangerous”), he now uses helicopters to get his aerial images.
Kooragang of Coal Terminal, Newcastle, New South Wales, Australia. Pic: Edward Burtynsky/Flowers Gallery
Over four decades, his photography has seen him travel to multiple countries across every continent (except for Antarctica), with his works included in the collections of more than 60 museums around the world.
Disappearing rivers of ice
His recent trip to photograph the Coast mountains of British Columbia, Canada, for his latest exhibition – New Works – was a stark reminder of a swiftly changing world.
From his bird’s eye view, he could see the glaciers – which date as far back as 150,000 years – had receded dramatically compared with 20 years ago because of warming as a result of human activity.
Not only a visible measure of man’s impact on the environment, the disappearing rivers of ice will go on to impact the ecosystems that rely on their meltwater.
Burtynsky’s new collection also explores soil erosion in Turkey, and the impact of coal mines in Australia.
Salt Lakes, North-East Tuz Lake, Turkey. Pic: Edward Burtynsky/Flowers Gallery
He admits it’s sometimes frustrating trying to relay the urgency of the climate emergency message.
‘Our legacy is troubled’
“We have this particular moment in time and things are evolving rapidly. I’m trying to invoke a sense of urgency out there… This is actually scientifically being charted and we’re pretty good at predicting what to expect.”
His environmental message – which is his life’s passion – is deeply held.
“I have two daughters and I want them to have a chance to have a family, too. So, if you know, the legacy that we’re leaving behind is troubled.
But his ecological vigour is also rooted within his personal knowledge of big industry. He says our use of the world’s most valuable resources is not something that can just stop, but instead needs careful planning, with alternative energy incentivisation, to help us transition to more sustainable methods.
Erosion Control, Yesilhisar, of Central Anatolia, Turkey. Pic: Edward Burtynsky/Flowers Gallery
So, what’s his view on the growing army of climate activists drawing attention to the cause by doing ever more extreme things to hit the headlines – particularly when that involves demonstrations in art galleries?
‘I understand the frustration’
“I understand why culture and the arts in particular can be a target, and somebody trying to bring attention through art celebrity. And that’s what’s happening, they’re taking a famous painting and throwing some paint on it… Or gluing themselves…
“I would think that demonstrating in front of the companies that are causing the problem might be a better place – to go direct to the source of the problem. But I understand the frustration.”
Erosion Nallıhan, Ankara Province, Turkey. Pic: Edward Burtynsky/Flowers Gallery
As for the renewed scrutiny on the source of funding for some of our big arts institutions, including galleries and museums accepting money from big oil companies, he says it’s a tricky path to navigate.
‘Be careful what you wish for’
“The line in a way is dangerous because you can all of a sudden find out that culture is no longer viable.
“I think as well, the oil companies have to transition, and they can do a lot to make a difference.
“We still need oil in the meantime until the transition occurs, [and we should] be careful what we wish for, because if all of a sudden the oil stopped tomorrow, I’d call that anarchy.
“We wouldn’t have food coming into the cities. We wouldn’t have transport working, everything would come to a screeching halt. So we are, unfortunately, still bound to that energy source for the foreseeable future.”
Ravensworth Coal Tailing, Ravensworth Mine, Hunter Valley, New South Wales, Australia,. Pic: Edward Burtynsky/Flowers Gallery
Part of that future, he believes, lies in the essential role that art can play in raising ecological awareness.
‘There’s still time’
“Artists have a role and creativity has a huge role in the future, because we have to reinvent our world. We have to find a world that isn’t built on this consumer culture saying the more stuff I own, the happier I am.
“I think everybody’s finding that that’s a bit of a shallow value system that may have been sold to us by some very influential advertising campaigns.”
So, should viewers of his work feel optimistic or pessimistic on leaving the gallery?
“I hope people can walk away saying there’s still time to do something.
“I think pessimism tends to lead to cynicism that nothing will work, so [people think] ‘Why should I bother? I’ll just carry on business as usual’. And I don’t think that’s the right attitude.”
Coast Mountains, Monarch of Ice Cap, British Columbia, Canada. Pic: Edward Burtynsky/Flowers Gallery
But alongside that optimism, Burtynsky’s clear-eyed on the challenges the world is facing.
Atmospheric rivers, water bombs and heat domes
“The storms are coming – we’re hearing all kinds of new terminology: ‘Atmospheric rivers’; ‘water bombs’ – these the massive amounts of water hitting a city all at once; ‘heat domes’. All of these new terms to try and describe what’s coming.
“The fire seasons have already started early, Texas is having one of its worst fire seasons ever, and it’s a month and a half, two months early.”
Coast Mountains, receding of glacier, British Columbia, Canada. Pic: Edward Burtynsky/Flowers Gallery
He concludes: “It’s a question of how quickly we’re able to cease and desist the worst activity that we’re doing, which I’d say right now is CO2 loading in the atmosphere and is our most immediate problem.
“We’ve got a lot of problems, and I think if people are going to act, they need to act. The time for words is way over.”
Edward Burtynsky New Works is showing at Flowers Gallery until 6 April.
A retrospective of his work, Extraction /Abstraction, is showing at the Saatchi Gallery until 6 May.
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Entertainment
Harvey Weinstein retrial: ‘He had all the power,’ prosecutor tells court as opening statements begin
The retrial of Harvey Weinstein has begun in New York – with a prosecutor telling the court the former Hollywood mogul used “dream opportunities as weapons” to prey on the three women accusing him of sexual abuse.
The case is being retried five years after the landmark #MeToo case against the producer, who was once one of the industry’s most powerful figures, after the appeals court last year overturned his conviction.
Weinstein, who is now 73, is charged with raping one woman and forcing oral sex on two others. He has strenuously denied the allegations.
Following a lengthy jury selection process due to the high-profile nature of the retrial, the prosecution has now opened its case at the same courthouse in Manhattan.
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Why is Weinstein getting a retrial?
Attorney Shannon Lucey told the court the Oscar-winning producer and studio boss used “dream opportunities as weapons” against the female accusers.
“The defendant wanted their bodies, and the more they resisted, the more forceful he got,” she said.
Weinstein had “enormous control over those working in TV and film because he decided who was in and who was out,” the court heard. “He had all the power. They had none.”
Dressed in a dark suit and navy tie, Weinstein listened to the prosecution’s statement after arriving in court in a wheelchair, as he has done for his recent appearances.
His lawyers are expected to outline their case later on Wednesday.
Steven Hirsch/ New York Post via AP/ pool
The opening statements got under way after the last jurors were finally picked on Tuesday, more than a week after the selection process began.
Prospective jurors were questioned about their backgrounds, life experiences and various other points that could potentially impact their ability to be fair and impartial about a case that has been so highly publicised. They have also been asked privately about their knowledge of the case and opinions on Weinstein.
Seven men and five women have been chosen to hear the trial.
Why is there a retrial?
In 2020, Weinstein was sentenced to 23 years in prison after being found guilty of charges of sexual assault in 2006 and rape in 2013, relating to two women.
But in April 2024, New York’s highest court overturned the convictions due to concerns of prejudicial testimony and that the judge in the original trial had made improper rulings.
Prosecutors announced a retrial last year and a separate charge concerning a third woman, who was not part of the original trial, has since been added to the case. She alleges the producer forced oral sex on her at a hotel in 2006.
Weinstein has pleaded not guilty to all charges and denies raping or sexually assaulting anyone.
Read more:
What has happened to the #MeToo movement?
Harvey Weinstein sues his brother Bob
At a preliminary court hearing in January, he begged for the retrial to be held as quickly as possible due to his deteriorating health, telling the judge: “I don’t know how much longer I can hold on.”
Weinstein was also sentenced in February 2023 after being convicted of rape during a separate trial in LA – which means that even if the retrial ends in not guilty verdicts on all three counts, he will remain behind bars.
His lawyers are also appealing this sentence.
Charli XCX, Dua Lipa, Raye and Ghetts are among the artists nominated for this year’s Ivor Novello Awards for songwriting, along with a nod for Wham!’s Last Christmas.
Lola Young, whose single Messy was a huge hit in 2024, leads with three nominations, for best album, best song musically and lyrically, and the rising star award.
Other acts in the running for Ivors include Fontaines DC, BERWYN, Myles Smith, Laura Marling, JADE, Bashy, Conor Dickinson and Jordan Rakei.
Nominated composers also include writers for Oscar nominees including The Substance and The Zone Of Interest, hit shows such as Black Doves and Rivals, and games including Senua’s Saga: Hellblade II and Farewell North.
Wham! pictured in September 1984, three months before Last Christmas was released
And Wham! receive their nomination for Last Christmas as one of PRS for Music’s top five most performed songs of 2024 – a posthumous nod for George Michael, almost 30 years after his last win in 1997, for the single Fastlove. Despite never making it to number one when it was released in 1984, Last Christmas has topped the charts at Christmas for the last two years.
The festive track is up against Harry Styles‘ 2022 hit As It Was, which is in contention for the third year running, Dua Lipa‘s Houdini, Stargazing by Myles Smith, and Prada by Casso, RAYE and D-Block Europe.
The Ivors recognise creative musical achievement in songwriting and composition, and also celebrate a number of singer-songwriters and groups for their wider contribution to UK music. This year’s ceremony marks the 70th anniversary of the awards, and will take place on 22 May in London.
Charli XCX’s Brat is in the running for best album. Pic: Reuters
Some 74 composers and songwriters have been nominated this year, with two-thirds – including Young – up for awards for the first time.
It has already been announced that U2 will be inducted into the Academy Fellowship “in recognition of their enduring influence and impact on the craft of songwriting”. The bandmates – Bono, The Edge, Adam Clayton and Larry Mullen Jr – will become the first Irish songwriters to be inducted, following in the footsteps of artists including Sir Paul McCartney, Sir Elton John, Kate Bush and last year’s recipient, Bruce Springsteen.
Artists including Raye, Lana Del Rey, Skepta and KT Tunstall were also among last year’s winners.
Tom Gray, chair of The Ivors Academy, described the event as “the most joyful celebration of music making in the calendar”.
Congratulating the 2025 nominees, he added: “It’s a huge privilege for the Ivors Academy to champion music creation in all its forms.”
Here are this year’s nominees.
Dua Lipa’s Houdini is among the song nominees. Pic: Scott A Garfitt/Invision/AP
BEST ALBUM
Brat – Charli XCX, AG Cook and Finn Keane
On Purpose, With Purpose – Ghetts and TenBillion Dreams
The Loop – Jordan Rakei
This Wasn’t Meant For You Anyway – William Brown, Conor Dickinson, Jared Solomon and Lola Young
Who Am I – Berwyn
BEST CONTEMPORARY SONG
Allergy – Felix Joseph, Alastair O’Donnell and Pa Salieu
Angel Of My Dreams – Pablo Bowman, JADE, Steph Jones and Mike Sabath
Circumnavigating Georgia – Sans Soucis
Double Standards – Ghetts, EMIL, Sampha Sisay and R-Kay
How Black Men Lose Their Smile – Bashy, Toddla T and Linton Kwesi Johnson
BEST SONG MUSICALLY AND LYRICALLY
Child Of Mine – Laura Marling
Genesis – Rodney Jerkins, RAYE and Toneworld
In The Modern World – Grian Chatten, Conor Curley, Conor Deegan, Thomas Coll and Carlos O’Connell (Fontaines DC)
Messy – Conor Dickinson and Lola Young
Mine – Orla Gartland
PRS FOR MUSIC MOST PERFORMED WORK
As It Was – Kid Harpoon, Tyler Johnson and Harry Styles
Houdini – Caroline Ailin, Danny L Harle, Tobias Jesso Jnr, Dua Lipa and Kevin Parker
Last Christmas – George Michael
Prada – D-Block Europe, Obi Ebele (Da Beatfreakz), Uche Ebele (Da Beatfreakz), Jahmori “Jaymo” Simmons and RAYE
Stargazing – Peter Fenn, Jesse Fink and Myles Smith
RISING STAR AWARD
Bea And Her Business
Liang Lawrence
Lola Young
LULU.
Nia Smith
BEST ORIGINAL FILM SCORE
Fly Me To The Moon – Daniel Pemberton
Hard Truths – Gary Yershon
Kneecap – Michael “Mickey J” Asante
The Substance – composed by Raffertie
The Zone Of Interest – Mica Levi
BEST ORIGINAL VIDEO GAME SCORE
Empire Of The Ants – Mathieu Alvado and Mark Choi
Farewell North – John Konsolakis
Flock – Eli Rainsberry
Senua’s Saga: Hellblade II – David Garcia Diaz
The Casting Of Frank Stone – Boxed Ape
BEST TV SOUNDTRACK
Black Doves – Martin Phipps
Mary & George – Oliver Coates
Rivals – Jack Halama and Natalie Holt
True Detective: Night Country – Vince Pope
Until I Kill You – Carly Paradis
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